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BFI TV Sitcom Worksheets

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SERIES TEACHING FILM AND MEDIA STUDIES Teaching TV Sitcom James Baker Education Series Editor: Vivienne Clark
worksheet 1 Sitcom categories Write a list of sitcoms against the numbers below. Write the number of each sitcom in one or more of the categories, then discuss with your partner or group why you think the sitcoms fit the categories you have assigned them to. US SITCOM UK SITCOM Examples of sitcoms: 1 ……………………………………………………… 2 ……………………………………………………… 3 ……………………………………………………… 4 ……………………………………………………… 5 ……………………………………………………… DOMESTIC WORKPLACE 6 ……………………………………………………… 7 ……………………………………………………… 8 ……………………………………………………… 9 ……………………………………………………… 10 ……………………………………………………… 11 ……………………………………………………… 12 ……………………………………………………… MAINSTREAM NON-MAINSTREAM 13 ……………………………………………………… 14 ……………………………………………………… 15 ……………………………………………………… ©bfi Education 2003 Page 1 of 1 TV Sitcom
worksheet 2 TV sitcom and gender To what extent is TV influential in the formation of the stereotypes we recognise? Male characters Male qualities Make a list of five TV sitcoms. List the main male and female characters in each and identify the qualities of each of these characters. Programmes 1 ……………………………… 2 ……………………………… 3 ……………………………… Female characters Female qualities 4 ……………………………… 5 ……………………………… ©bfi Education 2003 Page 1 of 1 TV Sitcom
worksheet 3 Sitcom characters Watch a sitcom and identify one male and one female character in it. Make notes on how each character’s gender is represented through narrative, mise en scène, form and style, and character construction: Name of sitcom: …………………………………………………………………………………… Name of male character:....................................................................................................... Narrative: ............................................................................................................................... ............................................................................................................................................... Mise en scène: ...................................................................................................................... ............................................................................................................................................... Form and style: ..................................................................................................................... ............................................................................................................................................... Character construction:......................................................................................................... ............................................................................................................................................... Name of female character:.................................................................................................... Narrative: ............................................................................................................................... ............................................................................................................................................... Mise en scène: ...................................................................................................................... ............................................................................................................................................... Form and style: ..................................................................................................................... ............................................................................................................................................... Character construction:......................................................................................................... ©bfi Education 2003 ............................................................................................................................................... Page 1 of 1 TV Sitcom
worksheet 4 Representations of Britishness Watch a British sitcom and make notes under the questions below. Name of sitcom: …………………………………………………………………………………… Characters Are the characters stereotypes? Do they have stereotypical qualities? To what degree is their ‘Britishness’ a defining feature? Are a range of regional groups featured? Which groups are privileged or marginalised by their regional identities? Notes ..................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... Courtesy of bfi Stills Courtesy of bfi Stills ©bfi Education 2003 ● Absolutely Fabulous (above) ● Fawlty Towers (left) Page 1 of 2 TV Sitcom
worksheet 4 Representations of Britishness Locations Courtesy of bfi Stills Where is the programme set? Is it a real location or a construction? What sorts of assumptions are made about the location and its values? How are regional differences indicated through the locations chosen? ● Steptoe and Son Notes ..................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... Narrative To what degree is the narrative dependent on regional or national issues? What kind of equilibrium is constructed at the beginning of the text? How is the disruption of equilibrium determined by national or regional forces? Notes ..................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ©bfi Education 2003 ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... Page 2 of 2 TV Sitcom
worksheet 4 Representations of Britishness Ideology What sorts of values and attitudes are linked to national identity? Which regional identities are privileged by the text? Which are marginalised? What generalisations can be drawn about national identity from the text? Notes: .................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... Courtesy of bfi Stills ● Dad’s Army Courtesy of bfi Stills ©bfi Education 2003 ● The Young Ones Page 1 of 1 TV Sitcom
worksheet 5 UK Gold In order to understand some of the issues involved with running a successful channel in a multi-channel, digital environment, carry out a case study on UK GOLD, one of the most successful of the new breed of narrowcast channels. Below are several suggestions for areas you could research in order to build up your case study. Who owns UK Gold and what other channels do they run? ......................................................................................................................................................... ......................................................................................................................................................... What kinds of programmes are aired on the channel? ......................................................................................................................................................... ......................................................................................................................................................... Who watches the channel? Investigate the audience figures. ......................................................................................................................................................... ......................................................................................................................................................... What are the most successful programmes and why? ......................................................................................................................................................... ......................................................................................................................................................... What kind of advertising does the channel carry? ......................................................................................................................................................... ......................................................................................................................................................... Where is the channel positioned on the EPG? Why is this important? ......................................................................................................................................................... ......................................................................................................................................................... What kinds of pleasures does the channel offer? ......................................................................................................................................................... ......................................................................................................................................................... ©bfi Education 2003 What scheduling strategies does the channel adopt? ......................................................................................................................................................... What other channels are owned by the ‘UK …’ consortium? ......................................................................................................................................................... ......................................................................................................................................................... Page 1 of 1 TV Sitcom
worksheet 6 Sitcom conventions 1 Think about the typical characteristics of the sitcoms you watch and jot down notes under Themes the headings. Give examples for each point you make. Locations/settings Characters Brainstorm Sheet Target audience Storylines and how these develop Why are they funny? ©bfi Education 2003 Page 1 of 1 TV Sitcom
worksheet 7 Sitcom analysis Name of sitcom: …………………………………………………………………………………… Episode title: ……………………………………………………………………………………… Schedule (channel and time): …………………………………………………………………… Where is this sitcom set?................................................................................................................ ......................................................................................................................................................... What is the plot of this episode? Give a plot summary below. ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... What themes are being addressed in the narrative? ...................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... Who is the target audience for this show? Consider age, sex, education, economic status, race, occupation and interests. ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... What emotional appeals do the producers of the show use to get its viewers hooked? Consider for example, power, family life, humour, melodrama, vicarious living, emotions. Why is the programme popular? ©bfi Education 2003 ............................................................................................................................................................... ............................................................................................................................................................... ............................................................................................................................................................... ............................................................................................................................................................... Page 1 of 3 TV Sitcom
worksheet 7 Sitcom analysis Give a description of each of the main characters: Consider age, gender, sexuality and relationship to other characters. Name: .............................................................................................................................................. ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... Name: .............................................................................................................................................. ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... Name: .............................................................................................................................................. ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... Name: .............................................................................................................................................. ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ©bfi Education 2003 Page 2 of 3 TV Sitcom
worksheet 7 Sitcom analysis Make some notes on the personal relationships among the characters – ie how each person treats others in terms of their gender, sexual orientation, race, behaviour etc. ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... How are issues relating to gender roles handled? What roles do men play? What roles do women play? Consider occupation and status. Are the roles realistic? Are they fair? Do they accurately reflect society? Do they conform to or subvert gender stereotypes? ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... How are issues of diversity handled? What ethnic groups are represented? How are they represented? Consider occupation and status. Are the roles realistic? Do they conform to or subvert racial stereotypes? ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... Is this sitcom: ■ 1 a ‘domcom’ (domestic comedy set around a family unit)? ■ 2 an ‘actcom’ (action comedy – emphasis placed on action rather than characterisation)? ■ 3 a ‘dramedy’ (a more serious dramatic comedy)? Use evidence from your analysis to support this below. ......................................................................................................................................................... ©bfi Education 2003 ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... Page 3 of 3 TV Sitcom
student notes (Worksheet 8) The conventions of sitcom Form Narrative ● Episodes tend to be between 24 and 30 ● The narrative of a sitcom rarely continues minutes long, with self-contained from one episode to the next. Even in narratives. sitcoms that have ongoing storylines, ● Sitcoms tend to be contained within each episode still tends to commence series not serials. with a situation that has to be resolved by ● Sitcoms are heavily reliant upon a formula the end. of repetition in a static situation with ● Sitcoms are based on a situation usually changing events. However within the connected with working or family life. formula, innovation is necessary to ● Sitcom narratives follow a circular engage the audience and to gratify their structure of a starting equilibrium, expectations. followed by disequilibrium and a return to equilibrium at the end of the episode. Style ● They are usually studio-based. ● The setting is usually a familiar location, often an interior. ● They are usually based in domestic or workplace environments. ● They use a limited number of locations. ● They have a conventional mise en scène. Courtesy of bfi Stills ©bfi Education 2003 ● Friends Page 1 of 1 TV Sitcom
student notes The conventions of sitcom (Worksheet 8) Courtesy of bfi Stills Characters ● Sitcoms tend to be centred on two main characters. ● The comedy in sitcoms grows out of the conflicts characters find themselves in, and the frustrations they experience. ● Sitcoms are heavily reliant upon stereotypes, especially in minor roles. ● Characters in sitcoms are recognisable, plausible types who audiences can identify with. They often embody a set of ideas, values or clichés, and it is these types that provide the catalyst for the humour that is central to the situation comedy. ● The majority of sitcom characters are frustrated by the situations they find themselves in and which they cannot escape. The situation can be physical or emotional, and although they often strive to change their situation, they are inevitably doomed to return to a similar starting point. ● Spaced Other Courtesy of bfi Stills ● Through presenting us with familiar situations, sitcoms give us an opportunity to laugh at aspects of ourselves, our culture and our experiences of human relationships, work, family etc. Courtesy of bfi Stills ©bfi Education 2003 ● The Simpsons ● Fawlty Towers Page 1 of 1 TV Sitcom
worksheet 8 Sitcom conventions 2 To what extent to sitcoms conform to sitcom conventions? List as many typical features as you can for the TV sitcoms that you watch. This sheet suggests a number of general categories and offers a few examples to get you started. Compare your lists to your partner’s and identify exceptions to these features. Form 1 30-minute episodes 2 Series, not serials 3 .................................................................................................................................................... 4 .................................................................................................................................................... 5 .................................................................................................................................................... Style 1 Studio based 2 Conventional mise en scène 3 .................................................................................................................................................... 4 .................................................................................................................................................... 5 .................................................................................................................................................... Narratives 1 Circular plots 2 Domestic or workplace situations 3 .................................................................................................................................................... 4 .................................................................................................................................................... 5 .................................................................................................................................................... Characters ©bfi Education 2003 1 Centred on one or two main characters 2 Often stereotypes minor roles 3 .................................................................................................................................................... 4 .................................................................................................................................................... 5 .................................................................................................................................................... Page 1 of 1 TV Sitcom
worksheet 9 Developing a sitcom Hand Baskets Only Imagine that you work for a production company preparing for the shooting of a new sitcom to be broadcast on BBC2. In groups, read through the attached script extract from a new sitcom called Hand Baskets Only. ● Discuss the features that make the script successful as a sitcom. ● Are there any elements that you would change or adapt to improve the extract? ● When you are happy with the script, begin work on the following tasks, as preparation for production. Task 1 Developing the characters The script contains four main characters: ● Ben Polemounter ● Justin Jocklaw ● Juan McVie ● Angela Mills Using the script and your knowledge of sitcom, write up some thumbnail biographies of the characters to help your actors get into role. Then, draw up some appropriate costume designs. Finally, put together a shortlist of actors that you feel would be appropriate for each part. Be prepared to justify your choices. Task 2 Designing the set Design the sets for the key locations used in the extract. ● Try to capture the atmosphere of the series in your designs and suggest what important props should be part of the mise en scène. ● Do you want to film in the studio or on location? Explain the ©bfi Education 2003 reasons behind your choice. ● If you are not great at drawing write a detailed specification for a designer. Page 1 of 14 TV Sitcom
worksheet 9 Developing a sitcom Task 3 Developing the style Discuss the visual style that you wish to adopt for the series (eg classic realism, continuity editing, documentary look, surrealist). ● Explain why your choices are appropriate for the script you’ve been given. ● Do you think the series should be filmed in front of an audience or given a laughter track? Why or why not? Task 4 Targeting the audience Who is the show’s target audience? ● Make some suggestions about the show’s scheduling in order to reach the appropriate groups. ● What programmes would you like to be shown before and after Hand Baskets Only? Task 5 Creating a title sequence Use the storyboards to design an appropriate title sequence for the show. ● Make sure that the sequence captures the tone and identity of the show clearly for its target audience. ● If you have the time and digital video editing equipment, storyboard and film a sequence from the script and screen it to the rest of the class, explaining and evaluating your intentions and outcomes. ©bfi Education 2003 Finally If you have time, you could try extending the narrative further by adding the next two scenes to the script. Keep in mind that each page, as laid out in the attached script, is about one minute’s worth of screen time. Page 2 of 14 TV Sitcom
worksheet 9 Developing a sitcom Script A Extract from script by Ben Trebilcook HAND BASKETS ONLY FADE IN INT. RESTAURANT - NIGHT WE see a sexy couple step out from the rest rooms - left and right and meet each other. The WOMAN has a towel around her head - spattered with blood. The man has a towel around his waist with traces of blood. With their model looks, the couple link hands and stroll out of shot. WE see a clock upon a wall - it reads NINE THIRTY. The hands suddenly scroll back EVER SO FAST and WE ... INT. BLOSERS SUPERMARKET - NIGHT Drilling can be heard, along with sawing and a general cluttering about. A helluva noise. A YOUNG GUY, 25 going on 85, white, wearing designer specs - hair spiky with his wiry frame housed in combat pants and a T-shirt with a face of an alien and the word BELIEVE printed upon it. He is BEN POLEMOUNTER and is becoming more and more frustrated as he tries his damnedest to work a shelf into a bracket. BEN lets loose a wild roar, like a caveman on his first kill, slamming the shelf HARD and knocking the entire wall section over into the next aisle - causing more destruction than needed and letting out a Bruce Lee- style war cry, adopting a Martial Arts stance - twisting and turning and then ... A FAT MAN, 40s, huge bushy moustache, large spectacles that magnify his eyes. He’s in a suit and doesn’t appear impressed. ©bfi Education 2003 WE CLOSE IN on his name badge ... MANAGER - JUSTIN JOCKLAW. PULLING BACK BEN straightens, raising his eyebrows and completing the final gasp of his shout, pathetically ... Page 3 of 14 TV Sitcom
worksheet 9 Developing a sitcom - 2 - JOCKLAW That kind of behaviour isn’t expected from an employee of Blosers Supermarkets. The Kwik Mart perhaps, but not here. BEN It ... It wouldn’t slot in. JOCKLAW Hmm. Barbara Windsor may say sentences such as those, but my employees do not. And also, was Bruce Lee once an employee here? BEN I don’t think so, sir. No. I mean. I woulda known. You know, camera crews and reporters buzzing about the place. Unless he was wearing a disguise. JOCKLAW sighs, staring wide with his EYE FILLING THE SCREEN - BEN frowns and jolts back - JOCKLAW I meant before he was famous? BEN I don’t follow you, Mr. Lockjaw - JOCKLAW - Jocklaw. My name is Jocklaw, not lock jaw. - Anyway, concentrate. That’s all I ask from my staff. Well, as well as work hard. Concentration. Work hard and ©bfi Education 2003 don’t ever steal from me. BEN What about the dealings of illegal narcotics and firearms? Page 4 of 14 TV Sitcom
worksheet 9 Developing a sitcom - 3 - JOCKLAW (thinking hard) Come back to me on that one. I think a new rule needs to be written. JOCKLAW turns, ever thoughtful, scratching his moustache, causing a load of cornflakes to fall to the floor. He walks away. BEN squats and clutches a handful of the flakes, letting them drop through his fingers like sand, curling his lip.. BEN Crispy. Golden. Flaky. Crispy, golden, flaky pieces of corn. He twitches and stands, crunching the flakes as he does so ... He tends to the shelf ... BEN (V.O.) I hate it here. I really do. Supermarkets suck. It’s as if I were a drink. A supermarket was a plastic drinking straw - found on the end of aisle 8 and God or whatever is sipping. Sucking. - No. That’s not it. (a pause) To have a plastic drinking straw, found at the end of aisle 8, you need a sucker. God, or whatever isn’t a sucker. - Let’s turn it around. Life is the drink. Yeah, man. Life. The supermarket is the plastic drinking straw, found at the end of aisle 8 and.. NO! No that can’t be ... That means ... ©bfi Education 2003 BEN straightens, thinking ... BEN I’m a sucker. I’m a sucker. No. NO! NOoooooooooooooooooooo! Page 5 of 14 TV Sitcom
worksheet 9 Developing a sitcom - 4 - He lets loose a cry of pain and anger like Bruce Lee, stamping on the shelf as if it were his enemy. SUDDENLY A LARGE PAIR OF HANDS come into view, GRABBING BEN and spinning him around ... This guy is big. He wears black trousers and a short- sleeved white shirt emblazoned with the BLOSER name on the breast pocket ... WE CLOSE IN on the name badge ... DEPT. MANAGER - JUAN MCVIE - WE PULL BACK to see this hulk, 30. He smiles a gold tooth grin. JUAN You’re a nutter. BEN John! JUAN It’s Juan. He spits when pronouncing his name. Phlegm slides down BEN’S forehead. He doesn’t move - fearful - JUAN bends BEN’S fingers back. BEN (feeble) Juan. I’m ... JUAN - Say my name with passion, bitch. Like you worship it. BEN gulps ... BEN closes his eyes and takes a deep breath, coughing up phlegm and spitting ... BEN Juan! A globule of mucus lands upon JUAN’S eyebrow, dangling ... He is ©bfi Education 2003 satisfied ... JUAN Nice. That’s what I want. You’re not a first-timer, are you, son? Page 6 of 14 TV Sitcom
worksheet 9 Developing a sitcom 5 – BEN Beg your pardon? JUAN See. That’s what I mean. You have to ask. You don’t do stuff right first time. You have to wait for people to tell you that you’ve done wrong. BEN Well, I wouldn’t - JUAN - Don’t argue, son. I’ll see you in the chiller later, my boy. JUAN grins, his gold tooth sparkles - he turns and spouts ... JUAN (O.S) Oh, Danny boy! The pipes the pipes are calling. From glen to glen ... He whistles “And down the mountains sides!” rounding a corner. BEN sighs, whatever next. BEN This is hell. This is pure hell from here on. VOICE (O.S) And what does that mean, Tim? BEN jolts, spinning around and seeing his idol. A goddess. A bright light shines from above as a beautiful angel is seen. She is fantastic. This baby could be Caprice! BEN drops to his knees and ©bfi Education 2003 the angel frowns, looking around her, curling her lip ... She removes one of her wings - snapping it off her back and BIFFS BEN on the head and back with it ... ANGEL Get up! What are you doing? Page 7 of 14 TV Sitcom
worksheet 9 Developing a sitcom 6 – BEN blinks. The light returns to its normal dullness and WE see the angel ... now known as ANGELA MILLS, 24. Pretty? Yes. Wearing blue jeans and a jumper. BEN’S besotted by her, nervous ... ANGELA Are you all right? BEN Huh? Yes. How are you? ANGELA Fine. What were you saying a minute ago? Something about being pure hell. What does that mean? BEN Pure hell. This place is pure hell. It’s Sunset Beach, Angela. Total hell and I can’t handle it. She forms the sexiest of sympathetic looks, touching his arm. Animated hearts appear - replacing his pupils ... The hearts escape and fly like butterflies. BEN eyes them and shoos them away. ANGELA frowns, forms her sympathy look again. ANGELA Ben. Ben. Believe in yourself. You can achieve anything. Believe it’s gonna be okay. Look at your T-shirt. Believe. He blinks. Hearts disappear. He points to his shirt, seriously. BEN I wear this because I believe in the aliens who visit our planet, Angela. I believe in the underground catacombs that ©bfi Education 2003 honeycomb our Earth. She removes her loving hand giving him an odd look, turning away. He curls his lip, shaking his head violently, scrunching up his hair ... Page 8 of 14 TV Sitcom
worksheet 9 Developing a sitcom 7 – BEN Damnit! I always say the wrong things to girls. I always say say the wrong things to her. It’s at times like these that I wish I were a member of BB Mak. Looks are everything. All I’d have to do is look at her and she would simply fall at my feet. - Right you bastard shelf. You’re gonna get it. BEN leaps into the air - like Bruce Lee from Enter the Dragon, hovering over the fallen shelf... FREEZE FRAME MATRIX-STYLE ... ©bfi Education 2003 Page 9 of 14 TV Sitcom
worksheet 9 Developing a sitcom Script B Extract from script by Ben Trebilcook HAND BASKETS ONLY - PAGE 9 - INT. STAIRWELL/SUPERMARKET - NIGHT BEN, zipping up a fleece, paces down the stairs alongside ANGELA who puts on a coat. ANGELA I feel absolutely shattered. BEN Have you got a ride tonight? I mean is somebody riding you? Hard. What I mean is have you got a lift home. Yeah. Have you? She smiles a blinder, causing an impossible shine. BEN shields his eyes and then lowers them ... ANGELA No. No I haven’t. Could you give me one? BEN Yeah! Sure. ANGELA A lift home. Do you mind? I have to get home quick as I’m seeing BB Mak in concert tonight. Ben curls his lip with disappointment. ©bfi Education 2003 Page 10 of 14 TV Sitcom
worksheet 9 Developing a sitcom - 10 - BEN Oh, no. Sure, Angela. Of course. They continue down the stairwell, passing a sign that reads: YOUR MANAGEMENT TEAM WILL SMILE WITH YOU - followed by a photograph of JOCKLAW smiling a cheesy grin. A picture of JUAN smiling and his gold tooth glimmering. A whole assortment of peculiar-looking characters pass by as the wannabe lover, BEN, and ANGELA stroll along. ANGELA So what are you doing tonight? BEN Nothing! I mean. Nothing. Mum and Dad are out, so I’ve got to fend for myself in the kitchen. ANGELA Ah, poor you. Where? BEN Oh, the kitchen’s in my house. ANGELA No, where are your parents? BEN Oh, out on a romantic meal. It’s Mum’s birthday or something. ANGELA smiles a bright smile ... DISSOLVE TO:- INT. RESTAURANT - NIGHT ©bfi Education 2003 A glimmering ring sparkles upon the hand of “SHE”, dressed in designer gear and looking sexy. This couple are damn sexy – 20s model looks straight out of a catalogue. “HE” holds her hand. HE Happy anniversary, darling. Page 11 of 14 TV Sitcom
worksheet 9 Developing a sitcom - 11 - SHE Oooh, darling. Happy anniversary to you, too. HE Open your gifts. She sighs a happy sigh and picks up a wrapped gift which is on the table. It has the word BIRTHDAY printed all over it. She reads the tag ... SHE Ah, it’s from the boy. Happy Birthday? Ah, it’s the thought. “To Dear You, Happy Birthday, hope you don’t suffer any more fits.” She unwraps it, revealing a book - the title is “COMING TO TERMS WITH HAVING FITS” HE What is it, darling? SHE It’s a book. “Coming to Terms With Having Fits”. She places the book down, confused, tweaking her nose, touching her slender neck, cheeks and ears. HE touches his jaw ... HE What does it mean? SHE I have no idea. Ah, he does mean well. HE Yes. Yes he does mean well. And I hope you don’t encounter any more fits, my love. Open ©bfi Education 2003 my gift now, darling. She picks up another gift, wrapped in gold paper. She smirks, deviously ... She unwraps it ... It’s ... It’s ... an oven mitt. She gasps ... Page 12 of 14 TV Sitcom
worksheet 9 Developing a sitcom 12 – SHE Oh, darling. Darling. I... I... I love you. HE And I love you. She glances around her, seeing the rest of the people sat at tables are in fact mannequins!! Dressed up too. WAITERS AND WAITRESSES still serve them however ... She smirks, devilishly, leaning forward and kisses him. He smirks ... HE Oh, darling. Mmm. She leans forward further, her cleavage in his full view - she whispers to him - he’s in awe of her secret words - she looks around again, ducks under the table - hidden by the table cloth. His expression says it all ... His face comes over all emotional with pleasure and naughtiness combined ... HE Darling? Oh, darling, you shouldn’t. Not here... He strokes the table, smiling. CUT TO:- UNDER THE TABLE: She jolts, violently, eyes widen, back arches ... CUT TO:- ABOVE THE TABLE: His eyes widen, hands grip the table. He screams ... LOUD! It rocks from underneath ... HE DARLING! HAVE YOU ENCOUNTERED ©bfi Education 2003 A FIT? ARE YOU HAVING A FIT? ARGHHHHHHHHHHHHHHHHHHHHH! He grabs a fork and stabs it into her head. Stab, stab ... Page 13 of 14 TV Sitcom
worksheet 9 Developing a sitcom - 13 - HE GET OFF! GET OFF! The mannequin heads turn to look. He stands ... Blood covering his groin area. She gets to her feet, clutching her head in pain. It’s bloody and has a fork sticking out of it. They retreat to the restrooms screaming in pain. WE CLOSE IN ON a clock on the wall ... It’s NINE O’CLOCK. The hands scroll around to show NINE THIRTY. HE and SHE exit from the restrooms. He has a towel fixed around his waist, with traces of blood spattered on it. She has a towel wrapped around her head, also with traces of blood. They meet, link hands - red and blue flashing lights shine from outside - obviously police and ambulance vehicles ... They make for the lights, passing through the restaurant as if nothing has happened. CLOSING IN ON the clock once more ... the hands scroll around and around real fast until it reads EIGHT O’CLOCK. ©bfi Education 2003 Page 14 of 14 TV Sitcom
worksheet 10 Hand Baskets Only Now try to develop the series further by coming up with plotlines for a further four episodes. You have the basic situation and the main characters already in place. Remember that sitcom narratives tend to be circular, returning the characters to the point at which they started the proceedings. Use the table below to draw up some possible narrative structures for four more episodes in the series. Initial situation Complication or disruption Resolution of narrative Initial situation Complication or disruption Resolution of narrative Initial situation Complication or disruption Resolution of narrative Initial situation Complication or disruption Resolution of narrative ©bfi Education 2003 Page 1 of 1 TV Sitcom
worksheet 11 TV scheduling TV scheduling for terrestrial channels is a sophisticated process, often planned many months in advance by a committee of programmers. The aim of scheduling for the various broadcast channels is to get the biggest possible share of the available audience for as long as possible. Have a close look at the listings for terrestrial TV channels on a single day. Carry out the following tasks, then compare your ideas with a partner. Tasks 1 Divide the day into blocks, determined by the kinds of programmes shown on the different channels. 2 Work out which groups of people are assumed to be watching at particular times during the day. 3 What assumptions do TV schedulers seem to make about the audiences’ lifestyles? 4 Are there any programmes which seem to be on at the ‘wrong’ time of day? Why do you think this is? 5 Most TV schedules have a number of ‘fixed’ points around which scheduling takes place. What are these points and what kinds of programming fill them? 6 What examples of competition and cooperation between schedules can you find? Why do these patterns occur? 7 Which of the channels seems to you to have the most effective schedule and why? 8 The following terms are all connected in some way with TV scheduling. Work out what they mean and see if you can provide examples from your listings: ● Prime time ● Watershed ● Channel loyalty ● Hammocking ● Stripped scheduling ● Stranded scheduling ● Zoning 9 Do audiences always behave as schedulers think they do? When you have considered some of the ways in which the schedulers try to get audiences to watch TV, list the ©bfi Education 2003 strategies you employ to undermine the schedulers’ intentions. 10 What role does technology play in helping you to choose your own schedules? Page 1 of 1 TV Sitcom
worksheet 12 Comedy channel You are part of a team which has been asked to formulate a strategy for the introduction and promotion of a new digital comedy channel for age 18-35 audiences. For each of the tasks below, be prepared to explain your thinking and to justify your decisions. When you have completed the tasks, prepare a presentation in which you pitch your concept to the rest of the class. Tasks 1 Name the channel Decide on a name for the channel which is catchy and memorable, and which communicates its identity clearly to the target audience. 2 Design the channel logo This needs to be memorable, easily recognised and to communicate the desired channel identity 3 Position the channel Where would you like to place the channel on SkyDigital’s EPG? Where are the target audience most likely to find it and to return to it? 4 Find the advertisers What kinds of companies or products do you think will pay to advertise on your channel? Draw up a list of desirable advertisers. 5 Build a schedule ● Draw up a list of the comedy programmes that you would like to appear on your channel. (Don’t worry if the programmes already appear on other channels.) ● From this list, build an evening’s schedule to run weeknights from 7.00pm until midnight. Bear in mind the lifestyles of your target audience and their viewing patterns. (Encrypted channels have an 8.00pm watershed) ● Would you alter the schedule for Saturday and Sunday evenings? What changes would you make and why? Storyboard a trailer ©bfi Education 2003 Use the storyboard provided to design a 30-second trailer for the new channel. Photocopy the sheet if you need to use more shots. You cannot use clips from the shows you are broadcasting, but you must produce a trailer which is eye-catching and in keeping with the brand image you have created for your channel. When you have finished, determine which other channels you would like the trailer to run on. Page 1 of 2 TV Sitcom
worksheet 12 Comedy channel Working title ________________________________________________ Group names ________________________________________________ ________________________________________________ ________________________________________________ Shot Picture Type of shot Sound/dialogue no. & duration ©bfi Education 2003 Page 2 of 2 TV Sitcom
worksheet 13 Sitcom families Choose a family sitcom and four members of the sitcom family. Make notes on how it represents each of them. Then discuss the Sitcom: ......................................................... Family: ......................................................... questions in the right hand box. 1 Family member .................................. 2 Family member .................................. Which members are privileged by the Notes on representation Notes on representation text? Which members are marginalised by the text? 3 Family member .................................. 4 Family member .................................. Notes on representation Notes on representation In what ways are the family constructed as abnormal? ©bfi Education 2003 Page 1 of 1 TV Sitcom
worksheet 14 Types of sitcom Make a list of UK and US sitcoms. Link them to the categories on the left (created by Hartley) and right (created by Taflinger). ● Which set of types most easily accommodates the UK or the US sitcom? ● Is there any crossover between the two? Hartley UK sitcoms Taflinger 1 .............................................................................................................. 2 .............................................................................................................. 3 .............................................................................................................. 4 .............................................................................................................. Domestic comedy 5 .............................................................................................................. Domcom Workplace comedy US sitcoms Actcom 1 .............................................................................................................. 2 .............................................................................................................. 3 .............................................................................................................. 4 .............................................................................................................. 5 .............................................................................................................. Dramedy ©bfi Education 2003 Page 1 of 1 TV Sitcom
worksheet 15 Character types Watch an episode of a sitcom and try to divide the characters shown into Taflinger’s three categories. ● Which of these character types seems to generate the most humour? ● Which are most likely to be stereotypes and why? ● What other generalisations can be drawn from your analysis? Name of sitcom: .................................................................................................................... Name of episode: .................................................................................................................. Main characters Supporting characters Transients ©bfi Education 2003 Page 1 of 1 TV Sitcom
worksheet 16 Sitcom locations Sitcom locations are often used to communicate important information about the characters who are most closely associated with them, such as Gary’s flat in Men Behaving Badly or Eddy’s house in Absolutely Fabulous. Identify four sitcoms that you watch and make notes on the key locations, which characters these are associated with and the kinds of values or ideas that they seem to stand for. Sitcom .................................................................................................. Initial situation: Key locations: Associated with: Ideas/values: Sitcom .................................................................................................. Initial situation: Key locations: Associated with: Ideas/values: Sitcom .................................................................................................. Initial situation: Key locations: Associated with: Ideas/values: Sitcom .................................................................................................. Initial situation: Key locations: Associated with: Ideas/values: ©bfi Education 2003 Page 1 of 1 TV Sitcom
worksheet 17 Disruption and resolution Choose four sitcoms that you know well and fill out the following table, using your understanding of the typical elements and narratives employed by the series. What generalisations can you make about the kinds of disruption which drive sitcom narratives and the strategies used to resolve these? Sitcom............................................ Sitcom............................................ Sitcom............................................ Sitcom............................................ Normal situation: Normal situation: Normal situation: Normal situation: Disruptive influence or groups: Disruptive influence or groups: Disruptive influence or groups: Disruptive influence or groups: Resolution of disruption: Resolution of disruption: Resolution of disruption: Resolution of disruption: ©bfi Education 2003 Page 1 of 1 TV Sitcom
BFI TV Sitcom Worksheets
BFI TV Sitcom Worksheets
BFI TV Sitcom Worksheets
BFI TV Sitcom Worksheets
BFI TV Sitcom Worksheets
BFI TV Sitcom Worksheets

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BFI TV Sitcom Worksheets

  • 1. SERIES TEACHING FILM AND MEDIA STUDIES Teaching TV Sitcom James Baker Education Series Editor: Vivienne Clark
  • 2. worksheet 1 Sitcom categories Write a list of sitcoms against the numbers below. Write the number of each sitcom in one or more of the categories, then discuss with your partner or group why you think the sitcoms fit the categories you have assigned them to. US SITCOM UK SITCOM Examples of sitcoms: 1 ……………………………………………………… 2 ……………………………………………………… 3 ……………………………………………………… 4 ……………………………………………………… 5 ……………………………………………………… DOMESTIC WORKPLACE 6 ……………………………………………………… 7 ……………………………………………………… 8 ……………………………………………………… 9 ……………………………………………………… 10 ……………………………………………………… 11 ……………………………………………………… 12 ……………………………………………………… MAINSTREAM NON-MAINSTREAM 13 ……………………………………………………… 14 ……………………………………………………… 15 ……………………………………………………… ©bfi Education 2003 Page 1 of 1 TV Sitcom
  • 3. worksheet 2 TV sitcom and gender To what extent is TV influential in the formation of the stereotypes we recognise? Male characters Male qualities Make a list of five TV sitcoms. List the main male and female characters in each and identify the qualities of each of these characters. Programmes 1 ……………………………… 2 ……………………………… 3 ……………………………… Female characters Female qualities 4 ……………………………… 5 ……………………………… ©bfi Education 2003 Page 1 of 1 TV Sitcom
  • 4. worksheet 3 Sitcom characters Watch a sitcom and identify one male and one female character in it. Make notes on how each character’s gender is represented through narrative, mise en scène, form and style, and character construction: Name of sitcom: …………………………………………………………………………………… Name of male character:....................................................................................................... Narrative: ............................................................................................................................... ............................................................................................................................................... Mise en scène: ...................................................................................................................... ............................................................................................................................................... Form and style: ..................................................................................................................... ............................................................................................................................................... Character construction:......................................................................................................... ............................................................................................................................................... Name of female character:.................................................................................................... Narrative: ............................................................................................................................... ............................................................................................................................................... Mise en scène: ...................................................................................................................... ............................................................................................................................................... Form and style: ..................................................................................................................... ............................................................................................................................................... Character construction:......................................................................................................... ©bfi Education 2003 ............................................................................................................................................... Page 1 of 1 TV Sitcom
  • 5. worksheet 4 Representations of Britishness Watch a British sitcom and make notes under the questions below. Name of sitcom: …………………………………………………………………………………… Characters Are the characters stereotypes? Do they have stereotypical qualities? To what degree is their ‘Britishness’ a defining feature? Are a range of regional groups featured? Which groups are privileged or marginalised by their regional identities? Notes ..................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... Courtesy of bfi Stills Courtesy of bfi Stills ©bfi Education 2003 ● Absolutely Fabulous (above) ● Fawlty Towers (left) Page 1 of 2 TV Sitcom
  • 6. worksheet 4 Representations of Britishness Locations Courtesy of bfi Stills Where is the programme set? Is it a real location or a construction? What sorts of assumptions are made about the location and its values? How are regional differences indicated through the locations chosen? ● Steptoe and Son Notes ..................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... Narrative To what degree is the narrative dependent on regional or national issues? What kind of equilibrium is constructed at the beginning of the text? How is the disruption of equilibrium determined by national or regional forces? Notes ..................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ©bfi Education 2003 ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... Page 2 of 2 TV Sitcom
  • 7. worksheet 4 Representations of Britishness Ideology What sorts of values and attitudes are linked to national identity? Which regional identities are privileged by the text? Which are marginalised? What generalisations can be drawn about national identity from the text? Notes: .................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... ............................................................................................................................................... Courtesy of bfi Stills ● Dad’s Army Courtesy of bfi Stills ©bfi Education 2003 ● The Young Ones Page 1 of 1 TV Sitcom
  • 8. worksheet 5 UK Gold In order to understand some of the issues involved with running a successful channel in a multi-channel, digital environment, carry out a case study on UK GOLD, one of the most successful of the new breed of narrowcast channels. Below are several suggestions for areas you could research in order to build up your case study. Who owns UK Gold and what other channels do they run? ......................................................................................................................................................... ......................................................................................................................................................... What kinds of programmes are aired on the channel? ......................................................................................................................................................... ......................................................................................................................................................... Who watches the channel? Investigate the audience figures. ......................................................................................................................................................... ......................................................................................................................................................... What are the most successful programmes and why? ......................................................................................................................................................... ......................................................................................................................................................... What kind of advertising does the channel carry? ......................................................................................................................................................... ......................................................................................................................................................... Where is the channel positioned on the EPG? Why is this important? ......................................................................................................................................................... ......................................................................................................................................................... What kinds of pleasures does the channel offer? ......................................................................................................................................................... ......................................................................................................................................................... ©bfi Education 2003 What scheduling strategies does the channel adopt? ......................................................................................................................................................... What other channels are owned by the ‘UK …’ consortium? ......................................................................................................................................................... ......................................................................................................................................................... Page 1 of 1 TV Sitcom
  • 9. worksheet 6 Sitcom conventions 1 Think about the typical characteristics of the sitcoms you watch and jot down notes under Themes the headings. Give examples for each point you make. Locations/settings Characters Brainstorm Sheet Target audience Storylines and how these develop Why are they funny? ©bfi Education 2003 Page 1 of 1 TV Sitcom
  • 10. worksheet 7 Sitcom analysis Name of sitcom: …………………………………………………………………………………… Episode title: ……………………………………………………………………………………… Schedule (channel and time): …………………………………………………………………… Where is this sitcom set?................................................................................................................ ......................................................................................................................................................... What is the plot of this episode? Give a plot summary below. ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... What themes are being addressed in the narrative? ...................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... Who is the target audience for this show? Consider age, sex, education, economic status, race, occupation and interests. ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... What emotional appeals do the producers of the show use to get its viewers hooked? Consider for example, power, family life, humour, melodrama, vicarious living, emotions. Why is the programme popular? ©bfi Education 2003 ............................................................................................................................................................... ............................................................................................................................................................... ............................................................................................................................................................... ............................................................................................................................................................... Page 1 of 3 TV Sitcom
  • 11. worksheet 7 Sitcom analysis Give a description of each of the main characters: Consider age, gender, sexuality and relationship to other characters. Name: .............................................................................................................................................. ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... Name: .............................................................................................................................................. ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... Name: .............................................................................................................................................. ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... Name: .............................................................................................................................................. ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ©bfi Education 2003 Page 2 of 3 TV Sitcom
  • 12. worksheet 7 Sitcom analysis Make some notes on the personal relationships among the characters – ie how each person treats others in terms of their gender, sexual orientation, race, behaviour etc. ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... How are issues relating to gender roles handled? What roles do men play? What roles do women play? Consider occupation and status. Are the roles realistic? Are they fair? Do they accurately reflect society? Do they conform to or subvert gender stereotypes? ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... How are issues of diversity handled? What ethnic groups are represented? How are they represented? Consider occupation and status. Are the roles realistic? Do they conform to or subvert racial stereotypes? ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... Is this sitcom: ■ 1 a ‘domcom’ (domestic comedy set around a family unit)? ■ 2 an ‘actcom’ (action comedy – emphasis placed on action rather than characterisation)? ■ 3 a ‘dramedy’ (a more serious dramatic comedy)? Use evidence from your analysis to support this below. ......................................................................................................................................................... ©bfi Education 2003 ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... ......................................................................................................................................................... Page 3 of 3 TV Sitcom
  • 13. student notes (Worksheet 8) The conventions of sitcom Form Narrative ● Episodes tend to be between 24 and 30 ● The narrative of a sitcom rarely continues minutes long, with self-contained from one episode to the next. Even in narratives. sitcoms that have ongoing storylines, ● Sitcoms tend to be contained within each episode still tends to commence series not serials. with a situation that has to be resolved by ● Sitcoms are heavily reliant upon a formula the end. of repetition in a static situation with ● Sitcoms are based on a situation usually changing events. However within the connected with working or family life. formula, innovation is necessary to ● Sitcom narratives follow a circular engage the audience and to gratify their structure of a starting equilibrium, expectations. followed by disequilibrium and a return to equilibrium at the end of the episode. Style ● They are usually studio-based. ● The setting is usually a familiar location, often an interior. ● They are usually based in domestic or workplace environments. ● They use a limited number of locations. ● They have a conventional mise en scène. Courtesy of bfi Stills ©bfi Education 2003 ● Friends Page 1 of 1 TV Sitcom
  • 14. student notes The conventions of sitcom (Worksheet 8) Courtesy of bfi Stills Characters ● Sitcoms tend to be centred on two main characters. ● The comedy in sitcoms grows out of the conflicts characters find themselves in, and the frustrations they experience. ● Sitcoms are heavily reliant upon stereotypes, especially in minor roles. ● Characters in sitcoms are recognisable, plausible types who audiences can identify with. They often embody a set of ideas, values or clichés, and it is these types that provide the catalyst for the humour that is central to the situation comedy. ● The majority of sitcom characters are frustrated by the situations they find themselves in and which they cannot escape. The situation can be physical or emotional, and although they often strive to change their situation, they are inevitably doomed to return to a similar starting point. ● Spaced Other Courtesy of bfi Stills ● Through presenting us with familiar situations, sitcoms give us an opportunity to laugh at aspects of ourselves, our culture and our experiences of human relationships, work, family etc. Courtesy of bfi Stills ©bfi Education 2003 ● The Simpsons ● Fawlty Towers Page 1 of 1 TV Sitcom
  • 15. worksheet 8 Sitcom conventions 2 To what extent to sitcoms conform to sitcom conventions? List as many typical features as you can for the TV sitcoms that you watch. This sheet suggests a number of general categories and offers a few examples to get you started. Compare your lists to your partner’s and identify exceptions to these features. Form 1 30-minute episodes 2 Series, not serials 3 .................................................................................................................................................... 4 .................................................................................................................................................... 5 .................................................................................................................................................... Style 1 Studio based 2 Conventional mise en scène 3 .................................................................................................................................................... 4 .................................................................................................................................................... 5 .................................................................................................................................................... Narratives 1 Circular plots 2 Domestic or workplace situations 3 .................................................................................................................................................... 4 .................................................................................................................................................... 5 .................................................................................................................................................... Characters ©bfi Education 2003 1 Centred on one or two main characters 2 Often stereotypes minor roles 3 .................................................................................................................................................... 4 .................................................................................................................................................... 5 .................................................................................................................................................... Page 1 of 1 TV Sitcom
  • 16. worksheet 9 Developing a sitcom Hand Baskets Only Imagine that you work for a production company preparing for the shooting of a new sitcom to be broadcast on BBC2. In groups, read through the attached script extract from a new sitcom called Hand Baskets Only. ● Discuss the features that make the script successful as a sitcom. ● Are there any elements that you would change or adapt to improve the extract? ● When you are happy with the script, begin work on the following tasks, as preparation for production. Task 1 Developing the characters The script contains four main characters: ● Ben Polemounter ● Justin Jocklaw ● Juan McVie ● Angela Mills Using the script and your knowledge of sitcom, write up some thumbnail biographies of the characters to help your actors get into role. Then, draw up some appropriate costume designs. Finally, put together a shortlist of actors that you feel would be appropriate for each part. Be prepared to justify your choices. Task 2 Designing the set Design the sets for the key locations used in the extract. ● Try to capture the atmosphere of the series in your designs and suggest what important props should be part of the mise en scène. ● Do you want to film in the studio or on location? Explain the ©bfi Education 2003 reasons behind your choice. ● If you are not great at drawing write a detailed specification for a designer. Page 1 of 14 TV Sitcom
  • 17. worksheet 9 Developing a sitcom Task 3 Developing the style Discuss the visual style that you wish to adopt for the series (eg classic realism, continuity editing, documentary look, surrealist). ● Explain why your choices are appropriate for the script you’ve been given. ● Do you think the series should be filmed in front of an audience or given a laughter track? Why or why not? Task 4 Targeting the audience Who is the show’s target audience? ● Make some suggestions about the show’s scheduling in order to reach the appropriate groups. ● What programmes would you like to be shown before and after Hand Baskets Only? Task 5 Creating a title sequence Use the storyboards to design an appropriate title sequence for the show. ● Make sure that the sequence captures the tone and identity of the show clearly for its target audience. ● If you have the time and digital video editing equipment, storyboard and film a sequence from the script and screen it to the rest of the class, explaining and evaluating your intentions and outcomes. ©bfi Education 2003 Finally If you have time, you could try extending the narrative further by adding the next two scenes to the script. Keep in mind that each page, as laid out in the attached script, is about one minute’s worth of screen time. Page 2 of 14 TV Sitcom
  • 18. worksheet 9 Developing a sitcom Script A Extract from script by Ben Trebilcook HAND BASKETS ONLY FADE IN INT. RESTAURANT - NIGHT WE see a sexy couple step out from the rest rooms - left and right and meet each other. The WOMAN has a towel around her head - spattered with blood. The man has a towel around his waist with traces of blood. With their model looks, the couple link hands and stroll out of shot. WE see a clock upon a wall - it reads NINE THIRTY. The hands suddenly scroll back EVER SO FAST and WE ... INT. BLOSERS SUPERMARKET - NIGHT Drilling can be heard, along with sawing and a general cluttering about. A helluva noise. A YOUNG GUY, 25 going on 85, white, wearing designer specs - hair spiky with his wiry frame housed in combat pants and a T-shirt with a face of an alien and the word BELIEVE printed upon it. He is BEN POLEMOUNTER and is becoming more and more frustrated as he tries his damnedest to work a shelf into a bracket. BEN lets loose a wild roar, like a caveman on his first kill, slamming the shelf HARD and knocking the entire wall section over into the next aisle - causing more destruction than needed and letting out a Bruce Lee- style war cry, adopting a Martial Arts stance - twisting and turning and then ... A FAT MAN, 40s, huge bushy moustache, large spectacles that magnify his eyes. He’s in a suit and doesn’t appear impressed. ©bfi Education 2003 WE CLOSE IN on his name badge ... MANAGER - JUSTIN JOCKLAW. PULLING BACK BEN straightens, raising his eyebrows and completing the final gasp of his shout, pathetically ... Page 3 of 14 TV Sitcom
  • 19. worksheet 9 Developing a sitcom - 2 - JOCKLAW That kind of behaviour isn’t expected from an employee of Blosers Supermarkets. The Kwik Mart perhaps, but not here. BEN It ... It wouldn’t slot in. JOCKLAW Hmm. Barbara Windsor may say sentences such as those, but my employees do not. And also, was Bruce Lee once an employee here? BEN I don’t think so, sir. No. I mean. I woulda known. You know, camera crews and reporters buzzing about the place. Unless he was wearing a disguise. JOCKLAW sighs, staring wide with his EYE FILLING THE SCREEN - BEN frowns and jolts back - JOCKLAW I meant before he was famous? BEN I don’t follow you, Mr. Lockjaw - JOCKLAW - Jocklaw. My name is Jocklaw, not lock jaw. - Anyway, concentrate. That’s all I ask from my staff. Well, as well as work hard. Concentration. Work hard and ©bfi Education 2003 don’t ever steal from me. BEN What about the dealings of illegal narcotics and firearms? Page 4 of 14 TV Sitcom
  • 20. worksheet 9 Developing a sitcom - 3 - JOCKLAW (thinking hard) Come back to me on that one. I think a new rule needs to be written. JOCKLAW turns, ever thoughtful, scratching his moustache, causing a load of cornflakes to fall to the floor. He walks away. BEN squats and clutches a handful of the flakes, letting them drop through his fingers like sand, curling his lip.. BEN Crispy. Golden. Flaky. Crispy, golden, flaky pieces of corn. He twitches and stands, crunching the flakes as he does so ... He tends to the shelf ... BEN (V.O.) I hate it here. I really do. Supermarkets suck. It’s as if I were a drink. A supermarket was a plastic drinking straw - found on the end of aisle 8 and God or whatever is sipping. Sucking. - No. That’s not it. (a pause) To have a plastic drinking straw, found at the end of aisle 8, you need a sucker. God, or whatever isn’t a sucker. - Let’s turn it around. Life is the drink. Yeah, man. Life. The supermarket is the plastic drinking straw, found at the end of aisle 8 and.. NO! No that can’t be ... That means ... ©bfi Education 2003 BEN straightens, thinking ... BEN I’m a sucker. I’m a sucker. No. NO! NOoooooooooooooooooooo! Page 5 of 14 TV Sitcom
  • 21. worksheet 9 Developing a sitcom - 4 - He lets loose a cry of pain and anger like Bruce Lee, stamping on the shelf as if it were his enemy. SUDDENLY A LARGE PAIR OF HANDS come into view, GRABBING BEN and spinning him around ... This guy is big. He wears black trousers and a short- sleeved white shirt emblazoned with the BLOSER name on the breast pocket ... WE CLOSE IN on the name badge ... DEPT. MANAGER - JUAN MCVIE - WE PULL BACK to see this hulk, 30. He smiles a gold tooth grin. JUAN You’re a nutter. BEN John! JUAN It’s Juan. He spits when pronouncing his name. Phlegm slides down BEN’S forehead. He doesn’t move - fearful - JUAN bends BEN’S fingers back. BEN (feeble) Juan. I’m ... JUAN - Say my name with passion, bitch. Like you worship it. BEN gulps ... BEN closes his eyes and takes a deep breath, coughing up phlegm and spitting ... BEN Juan! A globule of mucus lands upon JUAN’S eyebrow, dangling ... He is ©bfi Education 2003 satisfied ... JUAN Nice. That’s what I want. You’re not a first-timer, are you, son? Page 6 of 14 TV Sitcom
  • 22. worksheet 9 Developing a sitcom 5 – BEN Beg your pardon? JUAN See. That’s what I mean. You have to ask. You don’t do stuff right first time. You have to wait for people to tell you that you’ve done wrong. BEN Well, I wouldn’t - JUAN - Don’t argue, son. I’ll see you in the chiller later, my boy. JUAN grins, his gold tooth sparkles - he turns and spouts ... JUAN (O.S) Oh, Danny boy! The pipes the pipes are calling. From glen to glen ... He whistles “And down the mountains sides!” rounding a corner. BEN sighs, whatever next. BEN This is hell. This is pure hell from here on. VOICE (O.S) And what does that mean, Tim? BEN jolts, spinning around and seeing his idol. A goddess. A bright light shines from above as a beautiful angel is seen. She is fantastic. This baby could be Caprice! BEN drops to his knees and ©bfi Education 2003 the angel frowns, looking around her, curling her lip ... She removes one of her wings - snapping it off her back and BIFFS BEN on the head and back with it ... ANGEL Get up! What are you doing? Page 7 of 14 TV Sitcom
  • 23. worksheet 9 Developing a sitcom 6 – BEN blinks. The light returns to its normal dullness and WE see the angel ... now known as ANGELA MILLS, 24. Pretty? Yes. Wearing blue jeans and a jumper. BEN’S besotted by her, nervous ... ANGELA Are you all right? BEN Huh? Yes. How are you? ANGELA Fine. What were you saying a minute ago? Something about being pure hell. What does that mean? BEN Pure hell. This place is pure hell. It’s Sunset Beach, Angela. Total hell and I can’t handle it. She forms the sexiest of sympathetic looks, touching his arm. Animated hearts appear - replacing his pupils ... The hearts escape and fly like butterflies. BEN eyes them and shoos them away. ANGELA frowns, forms her sympathy look again. ANGELA Ben. Ben. Believe in yourself. You can achieve anything. Believe it’s gonna be okay. Look at your T-shirt. Believe. He blinks. Hearts disappear. He points to his shirt, seriously. BEN I wear this because I believe in the aliens who visit our planet, Angela. I believe in the underground catacombs that ©bfi Education 2003 honeycomb our Earth. She removes her loving hand giving him an odd look, turning away. He curls his lip, shaking his head violently, scrunching up his hair ... Page 8 of 14 TV Sitcom
  • 24. worksheet 9 Developing a sitcom 7 – BEN Damnit! I always say the wrong things to girls. I always say say the wrong things to her. It’s at times like these that I wish I were a member of BB Mak. Looks are everything. All I’d have to do is look at her and she would simply fall at my feet. - Right you bastard shelf. You’re gonna get it. BEN leaps into the air - like Bruce Lee from Enter the Dragon, hovering over the fallen shelf... FREEZE FRAME MATRIX-STYLE ... ©bfi Education 2003 Page 9 of 14 TV Sitcom
  • 25. worksheet 9 Developing a sitcom Script B Extract from script by Ben Trebilcook HAND BASKETS ONLY - PAGE 9 - INT. STAIRWELL/SUPERMARKET - NIGHT BEN, zipping up a fleece, paces down the stairs alongside ANGELA who puts on a coat. ANGELA I feel absolutely shattered. BEN Have you got a ride tonight? I mean is somebody riding you? Hard. What I mean is have you got a lift home. Yeah. Have you? She smiles a blinder, causing an impossible shine. BEN shields his eyes and then lowers them ... ANGELA No. No I haven’t. Could you give me one? BEN Yeah! Sure. ANGELA A lift home. Do you mind? I have to get home quick as I’m seeing BB Mak in concert tonight. Ben curls his lip with disappointment. ©bfi Education 2003 Page 10 of 14 TV Sitcom
  • 26. worksheet 9 Developing a sitcom - 10 - BEN Oh, no. Sure, Angela. Of course. They continue down the stairwell, passing a sign that reads: YOUR MANAGEMENT TEAM WILL SMILE WITH YOU - followed by a photograph of JOCKLAW smiling a cheesy grin. A picture of JUAN smiling and his gold tooth glimmering. A whole assortment of peculiar-looking characters pass by as the wannabe lover, BEN, and ANGELA stroll along. ANGELA So what are you doing tonight? BEN Nothing! I mean. Nothing. Mum and Dad are out, so I’ve got to fend for myself in the kitchen. ANGELA Ah, poor you. Where? BEN Oh, the kitchen’s in my house. ANGELA No, where are your parents? BEN Oh, out on a romantic meal. It’s Mum’s birthday or something. ANGELA smiles a bright smile ... DISSOLVE TO:- INT. RESTAURANT - NIGHT ©bfi Education 2003 A glimmering ring sparkles upon the hand of “SHE”, dressed in designer gear and looking sexy. This couple are damn sexy – 20s model looks straight out of a catalogue. “HE” holds her hand. HE Happy anniversary, darling. Page 11 of 14 TV Sitcom
  • 27. worksheet 9 Developing a sitcom - 11 - SHE Oooh, darling. Happy anniversary to you, too. HE Open your gifts. She sighs a happy sigh and picks up a wrapped gift which is on the table. It has the word BIRTHDAY printed all over it. She reads the tag ... SHE Ah, it’s from the boy. Happy Birthday? Ah, it’s the thought. “To Dear You, Happy Birthday, hope you don’t suffer any more fits.” She unwraps it, revealing a book - the title is “COMING TO TERMS WITH HAVING FITS” HE What is it, darling? SHE It’s a book. “Coming to Terms With Having Fits”. She places the book down, confused, tweaking her nose, touching her slender neck, cheeks and ears. HE touches his jaw ... HE What does it mean? SHE I have no idea. Ah, he does mean well. HE Yes. Yes he does mean well. And I hope you don’t encounter any more fits, my love. Open ©bfi Education 2003 my gift now, darling. She picks up another gift, wrapped in gold paper. She smirks, deviously ... She unwraps it ... It’s ... It’s ... an oven mitt. She gasps ... Page 12 of 14 TV Sitcom
  • 28. worksheet 9 Developing a sitcom 12 – SHE Oh, darling. Darling. I... I... I love you. HE And I love you. She glances around her, seeing the rest of the people sat at tables are in fact mannequins!! Dressed up too. WAITERS AND WAITRESSES still serve them however ... She smirks, devilishly, leaning forward and kisses him. He smirks ... HE Oh, darling. Mmm. She leans forward further, her cleavage in his full view - she whispers to him - he’s in awe of her secret words - she looks around again, ducks under the table - hidden by the table cloth. His expression says it all ... His face comes over all emotional with pleasure and naughtiness combined ... HE Darling? Oh, darling, you shouldn’t. Not here... He strokes the table, smiling. CUT TO:- UNDER THE TABLE: She jolts, violently, eyes widen, back arches ... CUT TO:- ABOVE THE TABLE: His eyes widen, hands grip the table. He screams ... LOUD! It rocks from underneath ... HE DARLING! HAVE YOU ENCOUNTERED ©bfi Education 2003 A FIT? ARE YOU HAVING A FIT? ARGHHHHHHHHHHHHHHHHHHHHH! He grabs a fork and stabs it into her head. Stab, stab ... Page 13 of 14 TV Sitcom
  • 29. worksheet 9 Developing a sitcom - 13 - HE GET OFF! GET OFF! The mannequin heads turn to look. He stands ... Blood covering his groin area. She gets to her feet, clutching her head in pain. It’s bloody and has a fork sticking out of it. They retreat to the restrooms screaming in pain. WE CLOSE IN ON a clock on the wall ... It’s NINE O’CLOCK. The hands scroll around to show NINE THIRTY. HE and SHE exit from the restrooms. He has a towel fixed around his waist, with traces of blood spattered on it. She has a towel wrapped around her head, also with traces of blood. They meet, link hands - red and blue flashing lights shine from outside - obviously police and ambulance vehicles ... They make for the lights, passing through the restaurant as if nothing has happened. CLOSING IN ON the clock once more ... the hands scroll around and around real fast until it reads EIGHT O’CLOCK. ©bfi Education 2003 Page 14 of 14 TV Sitcom
  • 30. worksheet 10 Hand Baskets Only Now try to develop the series further by coming up with plotlines for a further four episodes. You have the basic situation and the main characters already in place. Remember that sitcom narratives tend to be circular, returning the characters to the point at which they started the proceedings. Use the table below to draw up some possible narrative structures for four more episodes in the series. Initial situation Complication or disruption Resolution of narrative Initial situation Complication or disruption Resolution of narrative Initial situation Complication or disruption Resolution of narrative Initial situation Complication or disruption Resolution of narrative ©bfi Education 2003 Page 1 of 1 TV Sitcom
  • 31. worksheet 11 TV scheduling TV scheduling for terrestrial channels is a sophisticated process, often planned many months in advance by a committee of programmers. The aim of scheduling for the various broadcast channels is to get the biggest possible share of the available audience for as long as possible. Have a close look at the listings for terrestrial TV channels on a single day. Carry out the following tasks, then compare your ideas with a partner. Tasks 1 Divide the day into blocks, determined by the kinds of programmes shown on the different channels. 2 Work out which groups of people are assumed to be watching at particular times during the day. 3 What assumptions do TV schedulers seem to make about the audiences’ lifestyles? 4 Are there any programmes which seem to be on at the ‘wrong’ time of day? Why do you think this is? 5 Most TV schedules have a number of ‘fixed’ points around which scheduling takes place. What are these points and what kinds of programming fill them? 6 What examples of competition and cooperation between schedules can you find? Why do these patterns occur? 7 Which of the channels seems to you to have the most effective schedule and why? 8 The following terms are all connected in some way with TV scheduling. Work out what they mean and see if you can provide examples from your listings: ● Prime time ● Watershed ● Channel loyalty ● Hammocking ● Stripped scheduling ● Stranded scheduling ● Zoning 9 Do audiences always behave as schedulers think they do? When you have considered some of the ways in which the schedulers try to get audiences to watch TV, list the ©bfi Education 2003 strategies you employ to undermine the schedulers’ intentions. 10 What role does technology play in helping you to choose your own schedules? Page 1 of 1 TV Sitcom
  • 32. worksheet 12 Comedy channel You are part of a team which has been asked to formulate a strategy for the introduction and promotion of a new digital comedy channel for age 18-35 audiences. For each of the tasks below, be prepared to explain your thinking and to justify your decisions. When you have completed the tasks, prepare a presentation in which you pitch your concept to the rest of the class. Tasks 1 Name the channel Decide on a name for the channel which is catchy and memorable, and which communicates its identity clearly to the target audience. 2 Design the channel logo This needs to be memorable, easily recognised and to communicate the desired channel identity 3 Position the channel Where would you like to place the channel on SkyDigital’s EPG? Where are the target audience most likely to find it and to return to it? 4 Find the advertisers What kinds of companies or products do you think will pay to advertise on your channel? Draw up a list of desirable advertisers. 5 Build a schedule ● Draw up a list of the comedy programmes that you would like to appear on your channel. (Don’t worry if the programmes already appear on other channels.) ● From this list, build an evening’s schedule to run weeknights from 7.00pm until midnight. Bear in mind the lifestyles of your target audience and their viewing patterns. (Encrypted channels have an 8.00pm watershed) ● Would you alter the schedule for Saturday and Sunday evenings? What changes would you make and why? Storyboard a trailer ©bfi Education 2003 Use the storyboard provided to design a 30-second trailer for the new channel. Photocopy the sheet if you need to use more shots. You cannot use clips from the shows you are broadcasting, but you must produce a trailer which is eye-catching and in keeping with the brand image you have created for your channel. When you have finished, determine which other channels you would like the trailer to run on. Page 1 of 2 TV Sitcom
  • 33. worksheet 12 Comedy channel Working title ________________________________________________ Group names ________________________________________________ ________________________________________________ ________________________________________________ Shot Picture Type of shot Sound/dialogue no. & duration ©bfi Education 2003 Page 2 of 2 TV Sitcom
  • 34. worksheet 13 Sitcom families Choose a family sitcom and four members of the sitcom family. Make notes on how it represents each of them. Then discuss the Sitcom: ......................................................... Family: ......................................................... questions in the right hand box. 1 Family member .................................. 2 Family member .................................. Which members are privileged by the Notes on representation Notes on representation text? Which members are marginalised by the text? 3 Family member .................................. 4 Family member .................................. Notes on representation Notes on representation In what ways are the family constructed as abnormal? ©bfi Education 2003 Page 1 of 1 TV Sitcom
  • 35. worksheet 14 Types of sitcom Make a list of UK and US sitcoms. Link them to the categories on the left (created by Hartley) and right (created by Taflinger). ● Which set of types most easily accommodates the UK or the US sitcom? ● Is there any crossover between the two? Hartley UK sitcoms Taflinger 1 .............................................................................................................. 2 .............................................................................................................. 3 .............................................................................................................. 4 .............................................................................................................. Domestic comedy 5 .............................................................................................................. Domcom Workplace comedy US sitcoms Actcom 1 .............................................................................................................. 2 .............................................................................................................. 3 .............................................................................................................. 4 .............................................................................................................. 5 .............................................................................................................. Dramedy ©bfi Education 2003 Page 1 of 1 TV Sitcom
  • 36. worksheet 15 Character types Watch an episode of a sitcom and try to divide the characters shown into Taflinger’s three categories. ● Which of these character types seems to generate the most humour? ● Which are most likely to be stereotypes and why? ● What other generalisations can be drawn from your analysis? Name of sitcom: .................................................................................................................... Name of episode: .................................................................................................................. Main characters Supporting characters Transients ©bfi Education 2003 Page 1 of 1 TV Sitcom
  • 37. worksheet 16 Sitcom locations Sitcom locations are often used to communicate important information about the characters who are most closely associated with them, such as Gary’s flat in Men Behaving Badly or Eddy’s house in Absolutely Fabulous. Identify four sitcoms that you watch and make notes on the key locations, which characters these are associated with and the kinds of values or ideas that they seem to stand for. Sitcom .................................................................................................. Initial situation: Key locations: Associated with: Ideas/values: Sitcom .................................................................................................. Initial situation: Key locations: Associated with: Ideas/values: Sitcom .................................................................................................. Initial situation: Key locations: Associated with: Ideas/values: Sitcom .................................................................................................. Initial situation: Key locations: Associated with: Ideas/values: ©bfi Education 2003 Page 1 of 1 TV Sitcom
  • 38. worksheet 17 Disruption and resolution Choose four sitcoms that you know well and fill out the following table, using your understanding of the typical elements and narratives employed by the series. What generalisations can you make about the kinds of disruption which drive sitcom narratives and the strategies used to resolve these? Sitcom............................................ Sitcom............................................ Sitcom............................................ Sitcom............................................ Normal situation: Normal situation: Normal situation: Normal situation: Disruptive influence or groups: Disruptive influence or groups: Disruptive influence or groups: Disruptive influence or groups: Resolution of disruption: Resolution of disruption: Resolution of disruption: Resolution of disruption: ©bfi Education 2003 Page 1 of 1 TV Sitcom